Listen to Love For Sale, and consider the following questions: A) The order of solos in this piece is: Davis, Adderley, Coltrane, Evans. Regarding the solos of Adderley and Coltrane: Listen to the recording and provide counter numbers for the beginning and end of these two solos. Compare and contrast the solo styles, and describe them. Listen to how they phrase or create musical lines over the chord changes. Try to include some detail.
B) How would you compare/contrast the solo style of Adderley with that of bebop alto saxophonist Charlie Parker?
C) How would you compare/contrast the solo style of Coltrane with that of swing tenor saxophonist Lester Young?
D) Now listen to how Bill Evans phrases during his solo that begins at 07:41 and ends at 10:11. Describe his style. What makes Evans different from other pianists you’ve heard?

A Adderley: bluesy and grounded in the beat; Coltrane: soaring mystically above the melody and freer in the rhytm aspect.

B Influenced by Parker but by the time of his stay with Miles Davis and John Coltrane, already incorporating a kind of fluid playing with more rhythmic freedom.

C Harmonically dense but still rhytmically relaxed as Lester Young.

D The genius of the piano displays rhytmical and harmonical freedom in his solo. His use of stretched triple notes is remarkable and unique  

Explanation:

B Cannonball Adderley, equipped with the understanding and technique of Charlie Parker, had always played closely following and emphasizing the beat.

A In his 4 choruses solo in love for sale Adderley is noted for staying close to the melody and harmony of the song, but at the same time singing and flying like Charlie Bird Parker.

C Although Coltrane was heavily influenced by the old master, Coleman Hawkins, his style leaned more toward the looser-swinging jazz of Lester Young.

A In his solo of 4 choruses´s in Love for sale Coltrane moves freely atop the rhythmic pulse and doesn´t stick very close to the melody.

D Bill Evans´s solo is impressive from the first chorus on. He displays an off-beat melody and on bars 25 to 32 he exhibits a triple feel over the duple meter. The bridge of the next two choruses is used to freely improvise.  

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the answer is "began" because it is a action that can be done